Category: Muso Japan

Browned Butter – “Fall”

A couple months back, Kyoto newcomers Browned Butter released their first recorded material in the form of a single track titled “Fall”.  The song would be more formally introduced via net label Ano(t)raks’ DIE IN POP compilation album.  Just this past month the band released a debut 3-track EP of the same via the same label.

At first listen, the title track follows a pretty standard pattern for Japanese shoegaze with the blaring lead, somewhat subdued guitar backdrop, male-female twin vocals, and the stripped-down verse crescendoing into the bridge.  But while this format can be boring in some cases, Browned Butter’s sound has a really good balance to it.  The male and female vocal parts complement each other really well and sit really well in the mix.  The melodies are catchy and simple.

The album’s second track offers something a little different, playing a bit more like something inspired by “Three Out Change”.  It’s more of a deliberately paced guitar rock track, with those excellent breathy vocal harmonies really shining on top of another simple but fun guitar hook.

“Fever”, the third and final song, might be the best of the bunch.  Again, it’s pretty different from the previous two songs, featuring more of the elements of a shoegaze tune.  The vocals in the verse are chilling and when the song explodes into the chorus they just fit in there brilliantly.  It’s a powerful track.

Though a three-track EP is a pretty small sample, Browned Butter showed some good versatility on their debut.  The songwriting is really solid and the vocals are stunning.  “Fall” is a great start.  Let’s hope they keep it going.

The Return of Whisper Voice Riot

Roughly two years after unexpectedly disbanding, Osaka’s talented young shoegaze band Whisper Voice Riot recently announced out of nowhere that they’re starting it back up.  Despite having emerged as one of the really impressive young bands in the Japanese shoegaze scene, the then teen-aged Whisper Voice Riot decided to call it quits in 2016, with two of its members going on to form indie rock outfit Mississippi Khaki Hair almost immediately after.  

Roughly two years after unexpectedly disbanding, Osaka’s talented young shoegaze band Whisper Voice Riot recently announced out of nowhere that they’re starting it back up.  Despite having emerged as one of the really impressive young bands in the Japanese shoegaze scene, the then teen-aged Whisper Voice Riot decided to call it quits in 2016, with two of its members going on to form indie rock outfit Mississippi Khaki Hair almost immediately after.  

It surprised a lot of people when, on January 24th, WVR and MKH frontman Taito Kimura randomly posted “we’re back” with a link to Whisper Voice Riot’s sound cloud page and some photos of the defunct band.  The response was overwhelmingly positive, which doesn’t seem at all surprising given the band’s reputation prior to breaking up.  However, Taito and WVR guitarist/MKH bassist Usui didn’t intend to make that announcement that the time.

“Usui and I had been talking about wanting to start up WVR again for a while,” Taito explained. “I posted ‘we’re back’ on Twitter to mean ‘at some point we’ll be back’, and everyone mistook it as ‘we’re starting the band back up soon’.  The response exceeded our expectations.”  Believing it to be some kind of “fate”, Taito and Usui had to find members.  They brought back former WVR bassist, Shibata, and added a two new members to round out the band’s new lineup.  

When I talked to Taito after the breakup, he stated that he was simply no longer satisfied with Whisper Voice Riot.  Talking to him recently he clarified that the pace of the band was too slow, and there were some personal issues.  “We were a band that started in high school and broke up while we were teenagers.  A few of the problems were inevitable.”  When asked about what changed over the last two years, Taito responded, “I got the urge to be in a band that is personal and is active at a slower pace.  So I started WVR back up.”

While he mentioned that Whisper Voice Riot is here to stay for as long as possible, Taito also plans to keep Mississippi Khaki Hair going at the same time.  “I’m an egotist, so if I want to quit, I’ll quit.”  For now at least it seems that fans of both bands won’t have to worry about any more sudden breakups in the near future.

Since announcing its return, Whisper Voice Riot had its first gig on April 30th.  Things have been relatively quiet otherwise, perhaps just due to the slow pace that Taito has come to embrace.  Whisper Voice Riot seems very near and dear to his heart, and after talking to him I get the feeling that he never intended to let it go forever.  His current approach to and goals for the band seem much more laid back than before.  “I just want to write good songs.  My dream is to be singing songs I wrote as a teenager, even when I’m old.”

Here’s a link to their first EP “Before the Morning Cleaves Our Night” on Soundcloud:

A Fond Farewell to Ether Feels

A lot of bands come and go.  The Japanese shoegaze scene has seen so many really good bands just disappear out of nowhere or break up without notice that I’ve become desensitized to it.  Late last night, however, Kansai shoegaze legends Ether Feels announced that its October gig in Taiwan was its last.  The band’s members would be splitting up, and Ether Feels would be going on an indefinite hiatus.  The news really hit home (enough to get me to come back and post after a few months away).  

A lot of bands come and go.  The Japanese shoegaze scene has seen so many really good bands just disappear out of nowhere or break up without notice that I’ve become desensitized to it.  Late last night, however, Kansai shoegaze legends Ether Feels announced that its October gig in Taiwan was its last.  The band’s members would be splitting up, and Ether Feels would be going on an indefinite hiatus.  The news really hit home (enough to get me to come back and post after a few months away).  

On a personal level, Ether Feels was an extremely important band.  I had been to various gigs since moving to Japan in the spring of 2012, but my first ever venture into the heart of the Japanese shoegaze scene was in January of 2013 at the Osaka leg of the Japan Shoegazer Festival.  The bill was headlined by the likes of like Lemon’s Chair and Cruyff in the Bedroom, but the band that blew me away was the lesser-known Ether Feels – then a three-piece.  The performance was mesmerizing.  It says a lot that Ether Feels was the highlight of the night, when Lemon’s Chair also played.  Since that night, the band’s founder Tomo, has been one of the coolest, most supportive people I’ve known.  He’s one of the really good guys in a scene in which the veterans aren’t always the most pleasant or sincere.  

Ether Feels at the 2013 Japan Shoegazer Festival Osaka
Ether Feels at the 2013 Japan Shoegazer Festival Osaka

Shoegaze in Japan in the early to mid 00s – unofficially referred to as the “golden age” of Japanese shoegaze – was strong but derivative.  Shoegaze in the current Japanese scene is often criticized for being too poppy and melodic, and not strong enough.  Ether Feels’ sound combines the best of each of these periods.  They borrow the requisite “wall of sound” guitar waves from the forefathers of the genre, using that element as a backdrop for their signature melancholy.  It’s powerful and sad and the vocal melodies will rip your heart to pieces.  Ether Feels’ sound is unique in a genre where pastiche is praised, and that’s helped to establish them as one of the best shoegaze bands on the planet.  

I will say that a fair criticism I’ve heard about the band is that their songs can be a bit repetitive.  It’s totally true, but I’ve never found it to be a bad thing in Ether Feels’ case.  The repetition almost hypnotic (think The Fleeting Joys’ “Kiss a Girl in Black”)  The song that stuck with me from the first time I heard it was “Annabelle”.  It’s basically just two and a half parts played over and over, but the song hit me hard and showcases the dreamy sadness that made me fall in love with them in the first place.  

I’m biased and a bit emotional in light of the news, but the love I have for this band is genuine.  It’s been a bit disappointing seeing Ether Feels somewhat underappreciated within the Japanese scene.  There’s the perception that the scene here runs through Tokyo, and in particular Koenji HIGH, but Ether Feels managed to forego that step of the process en route to playing all over the country as well as in Taiwan and Hong Kong, while also being included on a massive international shoegaze compilation.  All the while, Ether Feels has also helped usher in a new wave of shoegaze bands in Japan, while encouraging the scene to continue to grow in the Kansai region.  

If there’s one bit of good news in all of this, it’s that Ether Feels technically isn’t over.  Some would argue that the most recent lineup was the band’s best ever, but the fact remains that Tomo is the brains of the operation and he still seems dedicated to continuing what he referred to as his “life work”.  It would appear that there is still hope for the future, but for now it’s a good opportunity to sit back and reflect on the career of one of the best Japanese bands in recent memory.

If you’re reading this blog, you’re probably already familiar with Ether Feels’ catalog, but if by some chance you’re not, I recommend diving right in on their Bandcamp page and enjoying everything they’ve done.  Sadly, the Raindrop Sparkle CD – my personal favorite – isn’t up here, but the rest of their stuff is great as well.

 

 

 

softsurf – “Into the Dream”

In July of 2016, the Nagoya Shoegazer Expo was held at KD Japon and Daytrip, two venues in Nagoya’s Tsurumai area that have more or less been the stage for the emergence of the local shoegaze scene over the last few years.

In July of 2016, the Nagoya Shoegazer Expo was held at KD Japon and Daytrip, two venues in Nagoya’s Tsurumai area that have more or less been the stage for the emergence of the local shoegaze scene over the last few years.  To be honest, it wasn’t much of a shoegaze event at all, but more of an alternative rock showcase curated by a fan of the genre.  With the exception of mishca and Aysula, many of Nagoya’s more established shoegaze representatives were conspicuously absent from the lineup.  Little-known local newcomer softsurf was buried on the bill, scheduled to take the stage at 3:30 in the afternoon at the Monday event.  

It’s been a hell of a year since that event for softsurf.  They put out a 2-track demo single and absolutely packed the house at our Daydream event in Nagoya.  They stepped up their gigging schedule and earlier this year supported NIGHTS’ Jenna Fournier on her Japan tour.  They established themselves as one of the brightest new acts in Japan, and boast one of the best live shows I’ve seen in a long time.  And today softsurf has released its debut EP, “Into the Dream”.

I’m not the biggest fan of band comparisons, and I don’t really use them a whole lot when writing reviews.  But in softsurf’s case, given the overall tone of the Japanese shoegaze scene, it’s hard not to at least mention similarities to Slowdive – something that hasn’t really been done since Pastel Blue called it quits years ago.  You find a whole lot of Ride, Pale Saints, and My Bloody Valentine influence in Japan, but softsurf goes agains the grain, opting to bury melodies deep within hazy, billowy guitars.  You get a sense of it from the single they released, but the depth of softsurf’s sound absolutely blows you away when you see them on stage.  It’s impossible for a recording to capture the intensity and fill space like a live performance, but “Into the Dream” is as good a representation as one could hope for.  

Both of the tracks released on softsurf’s first demo, “Blue Swirl” and “Beautiful Day” appear on the EP in much more beefed-up forms.  There’s not much to be said that I haven’t already mentioned in previous reviews, other than the fact that the quality is, expectedly, much-improved.  The remaining three tracks are all new.  “Another Garden” is a sweet, whimsical dream pop track that follows more of the Japanese shoegaze model with its more prominent melodies.  It’s one of the catchier tunes on “Into the Dream”, injecting a bit more bounce into an EP that is otherwise based around texture-building.  

For me, the real strength of “Into the Dream” lies in the other two new tracks.  “Rainy Moon” sits smack in the middle of the five track EP and starts off with a gentle, lulling verse, crescendoing at points, but not quite fully taking off.  That is until about halfway through when the song explodes into a mass of big swirling guitars.  Frontwoman Yuki Udono’s vocals really shine on “Rainy Moon”, going from sweet and soft to powerful, matching each phase of the song.  It’s an intense track, and also my personal favorite in any softsurf live set.

If the first four tracks don’t sell you on the Slowdive comp, the finale, “Dawn of the Sun”, most definitely will.  There isn’t much in the way of subtle developments in this song, as it kicks right off with big screaming guitars.  There’s a heavy “When the Sun Hits” vibe, the way the song takes off and carries you through a thick atmosphere of layered guitars and reverb-soaked male-female twin vocals.  It’s not the most original of their tracks, but it’s a beast of a song that you just sort of get lost in.

There’s a good reason this was my most anticipated release of the year, and softsurf, with the help of some fine production work, delivered.  Softsurf has announced itself as one of Japan’s finest shoegaze bands, coming a long way since last year’s Nagoya Shoegaze Expo.  You can see them live at this year’s Daydream events in Kyoto, Nagoya, and Tokyo.  And folks interested in buying “Into the Dream” can do so via Nagoya’s File Under Records (see the link and directions below).

File Under Records (Nagoya):  http://www.fileunderrecords.com/?pid=120872924

Directions for overseas customers:  Send an e-mail with the name of the title you would like to purchase to file-under.rec@nifty.com.  After confirming the total with shipping, payment can be made via PayPal.  

“Into the Dream” trailer:

Cruyff in the Bedroom – “HATE ME”

Not much remains of the “golden age” of Japanese shoegaze, which started on April 1, 1998 and lasted until some point in the early to mid 2000s.  Few of the bands from that era are still around, and only a handful of those have released anything.  But while most of their contemporaries have either disbanded or abandoned the genre, Cruyff in the Bedroom has remained an active and important member of the Japanese shoegaze scene.  Still going strong after almost two decades, the proclaimed “Japanese King of Shoegazer” is getting ready to release its 6th studio album, HATE ME, on May 10th.  

Not much remains of the “golden age” of Japanese shoegaze, which started on April 1, 1998 and lasted until some point in the early to mid 2000s.  Few of the bands from that era are still around, and only a handful of those have released anything.  But while most of their contemporaries have either disbanded or abandoned the genre, Cruyff in the Bedroom has remained an active and important member of the Japanese shoegaze scene.  Still going strong after almost two decades, the proclaimed “Japanese King of Shoegazer” is getting ready to release its 6th studio album, HATE ME, on May 10th.  

Five years removed from the release of their previous album, hacanatzkina, Cruyff in the Bedroom has picked up right where it left off.  Fans of their past work will be pleased to know that HATE ME is as Cruyff as can be.  There aren’t any curve balls thrown, and there aren’t any surprises.  It’s a Cruyff in the Bedroom album through and through, but without being a boring rehash of everything else that they’ve done.  

The build up to the new record started a couple years back, when Cruyff began releasing a series of new EPs.  “Laurelei”, “Fuzz Me!!!”, and “Tiny Dancer” featured identical cover art (colored blue, orange, and red, respectively) and the same formats – each had four songs including two original tracks and a remix of each.  The title track from each EP appears on the new record, which comprises eleven songs in total, and features the same lion and crest cover art, but colored black.

The album’s strength is its top-end quality.  HATE ME boasts a few tracks that instantly made my personal “Best of Cruyff” list.  In particular, “HATE”, the album’s lead track, hits hard with big swirling guitars and melancholic progressions, capped off by a belter of a chorus.  “Laurelei”, which was an instant hit when it was originally released, stands as one of the best tracks on the record, and it’s hard to imagine that it wouldn’t be incredible to see them perform live.  “The Shade” is another moody gaze tune that has a very cool drone to it.  There’s a theme here.  These guys are at their best when they’re leaning hard and heavy on the shoegaze side of things.  

The album itself is hardly a straightforward shoegaze album, though.  Cruyff has always mixed things up, using shoegaze as a base for pop and rock songs.  “Ashtray in Snow”, “I’m Floating in Your Seventh Heaven” and “Tiny Dancer” are all quality examples of songs that incorporate persistent guitar noise as a back drop for catchy melodies and hooky choruses, with some big explosive moments here and there.  No Cruyff album is complete without one song that gets a bit more rough and aggressive.  “Die, die, die” fulfills that requirement this time around, starting off with a sludgy, stomping riff before making way for a dreamy, whimsical chorus.  And as always, the production quality on the album is top notch, really balancing things well.  

There are a couple tracks on the album that were misses for me, but as a whole I really liked it.  While it doesn’t offer anything fresh, it is a successful return by Cruyff in the Bedroom to what they do best.  The highs are really high, and the lows aren’t offensive.  Fans of the band’s catalog will definitely want to pick this up.

Cruyff in the Bedroom’s HATE ME comes out on May 10th, and can be purchased at the links below (international shipping is available).  Some versions of the release include a bonus CD featuring remixes by members of broken little sister, CQ, For Tracy Hyde, Cuicks, Zeppet Store, and more.

Amazon (JP)

Tower (JP)

Looprider – Umi

When they released their 2015 debut “My Electric Fantasy”, Tokyo-based rock outfit Looprider displayed some impressive versatility in creating a cohesive record that incorporated sludgy hooks and pop-infused shoegaze.  Released about nine months later, their second record “Ascension” took things in a quite different direction, drawing on hardcore and harsh noise, while steering clear of any pop influence from the first.  Through two albums the band had covered so much ground that predicting where they might go from there was both intriguing and impossible. 

When they released their 2015 debut “My Electric Fantasy”, Tokyo-based rock outfit Looprider displayed some impressive versatility in creating a cohesive record that incorporated sludgy hooks and pop-infused shoegaze.  Released about nine months later, their second record “Ascension” took things in a quite different direction, drawing on hardcore and harsh noise, while steering clear of any pop influence from the first.  Through two albums the band had covered so much ground that predicting where they might go from there was both intriguing and impossible. 

Today, the band put out their third album, “Umi”, which predictably veers in yet another new direction.  Initially promoted by the band as “an epic post rock concerto”, “Umi” goes beyond that.  The album is a single, mostly instrumental 25-minute track that organically flows from start to finish with massive crescendos and lulls.  

The opening 5 minutes, which the band uploaded as an album teaser a few weeks prior to the release, is a solid setup to the rest of the record.  If “My Electric Fantasy” was a showcase of Looprider’s ability to write catchy, hook-driven tunes, and “Ascension” their talent for tonal brutality, “Umi” brings to light the side of the band that expertly crafts intense music using layers and textures.  You get a feel for this in the album’s opening minutes where a number of simple parts are gradually woven together, building up to a dramatic peak where each of those parts explodes to create a beautiful sort of chaos.  At about the four and a half minute mark, the double drums really shine through, too.

Just as any good post rock has it’s big crescendos, a sudden come-down and reminder that you need to breathe is just as impactful.  While, at first listen, there might seem to be a logical track break – after all, it did make for a really nice standalone edit – the nosedive into the second part feels much more significant as a transition without interrupting the flow of the song. 

Over the next few minutes of the album there’s a delicate build-up, again starting very simple and gradually developing with multiple overlapping parts.  The lyrical portion of the album kicks in here, during which the origins of life are almost chanted over the course of another crescendo, this time to an epic bout of droning rock en route to a frenetic, solo-driven flurry.  The balance between calm and uptempo, soft and thunderous, and the organic, unpredictable flow from part to part does well to conjure the image of the album’s central theme: the ocean. 

The closing portion of the album brings everything down to a strong, steady march, before fading out with clean guitars, while the presence of thick, heavy guitars as the backdrop is a reminder of the strength of the album’s concept. 

As a listening experience, “Umi” is quite different from Looprider’s two previous releases.  However, there are familiar elements from the band’s previous two albums that appear throughout – the occasional grooves and “wall of sound” guitar textures found on “My Electric Fantasy” and the crushing noise of “Ascension” – that are brought together in a unique way, further stretching the boundaries of what Looprider are capable of producing.  With the addition of guest musicians to a lineup that’s already proven itself more than capable of generating huge depth in its sound, Looprider have once again succeeded in belting out a behemoth rock album, when few other bands in Japan are seemingly willing to do so. 

Looprider’s album release party will be taking place on Wednesday, March 29th at the band’s own Pop Sabbath event at Shindaita Fever in Tokyo, where they’ll be supported by moja and Japanese shoegaze legends Luminous Orange.  You can pick up a copy of the CD, which one again features some really nice art from Nasutakeo, at the following locations:

A Guide to Daydream pt. 4 – Nagoya

Over the last few years, Kyoto Shoegazer has emerged as the biggest showcase of the local shoegaze scene in Japan.  This year the Kyoto Shoegazer team has put together Daydream, a four day festival spanning three cities that will kick off in December.  The event will host some of the finest shoegaze, dream pop, alt rock, etc. that Japan has to offer.

Over the last few years, Kyoto Shoegazer has emerged as the biggest showcase of the local shoegaze scene in Japan.  This year the Kyoto Shoegazer team has put together Daydream, a four day festival spanning three cities that will kick off in December.  The event will host some of the finest shoegaze, dream pop, alt rock, etc. that Japan has to offer.  I will be previewing each of the events as they come.  The fourth and final Daydream event will be held on Saturday, January 21st at Tsurumai Daytrip in Nagoya.  Click the link below to reserve tickets. 

ここ数年京都シューゲイザーは日本のシューゲイザーを特集する一番大きなイベントになってきている。今年、１２月から4日程３都市でイベントDAYDREAMを行う。このイベントに日本の高品質のシューゲイザー、ドリームポップ、オルタナのバンドが出演する（あと、香港からのゲストも出る予定！）。Muso Japanは各イベントをプレビューする。次は１月21日に名古屋鶴舞DAYTRIPにて行われるDAYDREAM NAGOYAである！チケット予約は以下のリンクから。

Home Page/イベントホームページ

Ticket Reservation/チケット予約

JUVENILE JUVENILE

Osaka’s Juvenile Juvenile has established itself as Japan’s premier dream pop band. While there’s no shortage of dreamy indie pop in the country, few bands have demonstrated the ability to craft a thick, swirling atmosphere around jangly guitar hooks and catchy melodies as proficiently as Juvenile Juvenile.  In 2016, the band released its first material in two years – the 7” double A-side single “Planet Heaven/Perfect Lies”, produced by The Bilinda Butchers’ Michael Palmer.  Their ability to transfer the tight, dreamy sound of their recordings to the stage makes for impressive live performances.

大阪のJuvenile Juvenileは、日本の主要なドリームポップバンドとしての地位を確立した。国内で多数ドリーミーインディポップバンドが存在する中、Juvenile Juvenileのようにジャングリーなギターフック、キャッチーなメロディで厚く渦巻く雰囲気を醸し出すバンドは数少ない。2016年、2年ぶりにThe Bilinda ButchersのMichael Palmerがプロデュースした7インチ両A面シングル“Planet Heaven/Perfect Lies”をリリースした。ステージ上で奏でられるタイトでドリーミーなサウンドは、印象に残るパフォーマンスとなるであろう。

APPLE LIGHT

Veterans of the Nagoya music scene, Apple Light is one of the city’s most recognizable alternative rock acts.  Formed in 2008, Apple Light has released three albums, the most recent of which was 2015’s Are You Happy Now?  Their emotional, melody-driven throwback to 90s alt rock is super-catchy – and at times quite danceable – and has caught on overseas as well.  The band has shared the stage with the likes of Ringo Deathstarr and Stockholm’s Last Days of April.  

名古屋の音楽シーンのベテランApple Lightは、地元で最も認知されたオルタナティブロックバンドのひとつである。2008年に結成された彼らは2015年の最新作“Are You Happy Now?”を含む3つのアルバムをリリースしてきた。エモーショナルでメロディアス、90年代のオルタナティブロックを彷彿とさせるサウンドはキャッチーで聴く者を踊らせ、また海外でも注目を集めている。これまでRingo DeathstarrやストックホルムのLast Days of Aprilなどと競演を果たしてきた。

YUKINO CHAOS

One of Japan’s brightest young acts, Yukino Chaos has come on strong over the last couple years with dynamic live performances and some really impressive recordings.  2016 saw the release of a new demo single “Hope For The Future” and a supporting slot at Tokyo’s Niman Den-Atsu alongside Melt Banana, Looprider, and Qujaku.  The band was also invited to Shanghai along with Broken Little Sister earlier this year.  They’ll be releasing a split EP with fellow Daydream performers Ether Feels in December.

日本の輝かしき若い才能のひとつYukino Chaosは、精力的なライブ演奏と印象的なレコーディングで近年目を離せない存在となっている。彼らの2016年は、デモシングル“Hope For The Future”のリリース、東京の二万電圧でのMelt Banana, Looprider そして Qujakuとの共演、Broken Little Sisterと共に上海へ招かれた年でもあった。12月には共にDAYDOREAMに出演するEther Feelsと制作したスプリットEPがリリース。

ME IN GRASSHOPPER

With members based between the Kansai and Tokai regions of Japan, it’s only fitting that me in grasshopper will be performing at Daydream events in both Kyoto and Nagoya.  Over the past few years the band has become one of the flag bearers for the Nagoya shoegaze scene on the strength of their sweet melodies and subtle yet persistent guitar noise.  Their 2015 “NEW SATURDAY e.p.” was one of the best of the year.  In 2016 the band supported YUCK on their Japan tour, and they will be supporting Brooklyn’s Lazyeyes in Nagoya in January.

メンバーが関西・東海地方出身のme in grasshopperは、DAYDREAM KYOTO・NAGOYAの両日に出演する。美しいメロディーと緻密且つ鳴り響くギターノイズにより、この数年で名古屋シューゲイズシーンを代表する存在となった。2015年にリリースされた“NEW SATURDAY e.p.”は、その年の最高傑作の一つ。2016年、YUCKの日本ツアーをサポートし、来年1月にはブルックリン出身Lazyeyesの名古屋公演をサポートする予定。

SOFTSURF

Local Nagoya shoegazers Softsurf went from being virtually unknown at the start of the year to Nagoya’s most promising new shoegaze band.  The band announced its presence at this summer’s Nagoya Shoegazer Expo with a performance that drew wide praise within the shoegaze community.  Softsurf’s debut single “Blue Swirl/Beautiful Day” showcased the band’s ability to create big “wall of sound” shoegaze as well as dreamy pop tunes.  Fans of shoegaze done loud will want to keep an eye on these guys.

2016年の初めにはほぼ無名だった地元シューゲイザーSoftsurfは、ここ一年足らずで名古屋で最も有望なバンドへと成長した。彼らは昨夏のNagoya Shoegazer Expoでのパフォーマンスでシューゲイズコミュニティから広く賞賛を浴び、注目を集めた。デビューシングル“Blue Swirl/Beautiful Day”は、Softsurfに大音量ウォール・オブ・サウンドも、ドリーミーポップも創り出す才能があることをしっかりと示した。

BALLOON AT DAWN

Yet another impressive dream pop band produced by the city of Osaka, Balloon At Dawn finished 2016 strong with the release of their Our Finder EP.  The band has made a name for itself by creating thick textures using numerous layers of synths and reverb-soaked guitars, all of which they drive with super-danceable beats and addictively melancholy melodies.  More than anything, their music is a lot of fun.  The new record was released by HOLIDAY!RECORDS, who will also be setting up shop at Daydream Nagoya.

大阪から生まれたドリームポップバンドBalloon At Dawnは、”Our Finder EP”のリリースによって力強く2016年の幕を降ろした。踊りやすいビートとクセになるメランコリーなメロディ、いくつものシンセを重ねた濃いテクスチャーとリバーブに浸ったギターで、その名を知らしめる。そして何よりも、彼らの音楽は聴いていてとても楽しい。最新作はDaydream Nagoyaで物販として参加するHOLIDAY!RECORDSからリリースされたことも要チェック。

THE SKATEBOARD KIDS

The Skateboard Kids is another of Japan’s finest young acts. The four-piece has rapidly gained popularity in Japan on the back of strong live performances and a couple of impressive releases, culminating in their 2016 major label debut, Newtopia.  They’ve shown a propensity to create beautifully intense music, whether on the foundation of shoegaze-infused alternative rock or mellow, acoustic tracks.  One to keep an eye on in the years to come.

The Skateboard Kidsは、日本の輝かしき若い才能のひとつ。4人組の彼らは力強いパフォーマンスと印象的なリリースで国内で急速に人気を集めている。2016年には“Newtopia”でメジャーレーベルデビューを果たした。シューゲイズの息が吹き込んだオルタナティブロック、メローなアコースティックトラックなど、美しくも激しい音楽を創り出す。今後目が離せない。

A Guide to Daydream pt. 3 – Tokyo

The event will host some of the finest shoegaze, dream pop, alt rock, etc. that Japan has to offer.  I will be previewing each of the events as they come.  Day three of the event will be held at Shinjuku Nine Spices in Tokyo this Saturday, December 10th. 

Over the last few years, Kyoto Shoegazer has emerged as the biggest showcase of the local shoegaze scene in Japan.  This year the Kyoto Shoegazer team has put together Daydream, a four day festival spanning three cities that will kick off in December.  The event will host some of the finest shoegaze, dream pop, alt rock, etc. that Japan has to offer.  I will be previewing each of the events as they come.  Day three of the event will be held at Shinjuku Nine Spices in Tokyo this Saturday, December 10th.  

ここ数年京都シューゲイザーは日本のシューゲイザーを特集する一番大きなイベントになってきている。今年、１２月から4日程３都市でイベントDAYDREAMを行う。このイベントに日本の高品質のシューゲイザー、ドリームポップ、オルタナのバンドが出演する（あと、香港からのゲストも出る予定！）。Muso Japanは各イベントをプレビューする。次は１２月10日東京新宿Nine Spicesにて行われるDAYDREAM TOKYOである！チケット予約は以下のリンクから。

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colm

Colm is sort of a Kyoto Shoegazer supergroup, consisting of members of Ether Feels, Kailios, shelives, and AOQ.  The band is relatively new, and Daydream Kyoto will be their third gig since forming up earlier this year.  The band’s sound combines elements of shoegaze and pop.  Colm recently finished recording its first EP, and the 4-track CD was released at the Kyoto event.

Ether Feels, Kailios, shelives, 青くのメンバーから成るバンドColmは、京都シューゲイザーシーンのスーパーグループ。今年結成して、Daydream Kyotoが３回目のライブ。シューゲイザーとポップをミックスしつつ、大音量でキャッチーなメロディのあるサウンドが特徴。4四曲入りデビューEPを完成して、Daydream Kyotoよりリリースされた。

yukino chaos

One of Japan’s brightest young acts, Yukino Chaos has come on strong over the last couple years with dynamic live performances and some really impressive recordings.  2016 saw the release of a new demo single “Hope For The Future” and a supporting slot at Tokyo’s Niman Den-Atsu alongside Melt Banana, Looprider, and Qujaku.  The band was also invited to Shanghai along with Broken Little Sister earlier this year.  They’ll be releasing a split EP with fellow Daydream performers Ether Feels in December.

日本の輝かしき若い才能のひとつYukino Chaosは、精力的なライブ演奏と印象的なレコーディングで近年目を離せない存在となっている。彼らの2016年は、デモシングル“Hope For The Future”のリリース、東京の二万電圧でのMelt Banana, Looprider そして Qujakuとの共演、Broken Little Sisterと共に上海へ招かれた年でもあった。12月には共にDAYDOREAMに出演するEther Feelsと制作したスプリットEPがリリース。

ether feels

There are few active shoegaze bands in Japan that have put out as much consistently good material as Ether Feels.  Their melancholy blend of pop and shoegaze has resulted in a sound that is all their own, and their quality has earned them a good amount of attention outside of their home country.  Their Daydream performances will wrap up a busy year that’s included gigs around Asia, the release of a greatest hits album titled hen The First Time We Met and an upcoming split EP with Yukino Chaos.  

日本でEther Feelsほど、コンスタントに良い楽曲をシーンに提供してきたバンドはそういないだろう。彼ら独自のポップとシューゲイズのメランコリーな配合は、日本国外でも注目を集めてきた。DAYDREAMでのパフォーマンスは、アジア各地でのライブ、ベストオブアルバムhen The First Time We Metのリリース、Yukino ChaosとスプリットEPの共同リリース、と忙しい年の有終の美を飾るだろう。

magic love

While a lot of bands infuse their sound with indie pop or post rock, Tokyo’s Magic Love incorporates the howling guitar noise associated with a more “classic” shoegaze/dream pop sound.  On all of their releases to date, the band has consistently been able to balance a lulling, dreamy style with bouts of sheer loudness.  This year they put out their first release since 2014, an EP titled “Night Falls”.

シューゲイザーシーンにはインディポップ、ポストロックから影響を受けているバンドが多いが、Magic Loveのサウンドは、いわゆるクラシックなシューゲイザーバンド的なうなるギターノイズと持続するビートを操るのが特徴。今までリリースした作品では、Magic Loveのドリーミーで時折爆音を響かせる手法が表現されつつ、落ち着いたボーカルも遠くから響き、彼らのサウンドとうまく調和している。”Night Falls EP”を、今年2年振りにリリースしました。

citrus nowhere

Citrus Nowhere is a new and exciting young band from Tokyo that made a name for itself earlier this year with its debut self-titled EP.  They’ve since released more material via Soundcloud and have appeared on both Muso Japan compilations.  The band’s tendency to drown whimsical melodies in a mass of roaring noise makes them one of the more unique bands in the Japanese shoegaze scene.  For fans of massive noise.

東京を拠点とするCitrus Nowhereは有望な若手バンド。今年デビューEPをリリースし、サウンドクラウド、Muso Japanのコンピにも様々な音源をリリースした。キュートなメロディを激しく鳴り響くノイズに溺れるサウンドで、日本のシューゲイザーシーンの中でも個性的ななバンド。爆音ノイズファンにオススメ。

soranisomaruoto

Soranisomaruoto is a newly formed rock band founded by former sorutomanitooto member Minako.  The Tokyo four-piece’s sound draws on a number of genres, from shoegaze to post rock to j-pop to prog rock.  The band’s appearance at Daydream Tokyo will be their first ever live performance.  

ソラニソマルオトはminako(ex.sorutomanitooto)を中心に結成されたロックバンド。shoegaze/post rock/j-pop/progressive rockなどに影響を受けたミクスチャーサウンドを鳴らしている。12月10日が、デビューライブとなる。

Longstanding Japanese shoegaze representative Lemon’s Chair has been a fixture in the scene for years.  The trio is known for evolving beautifully layered melodic songs into a deafening, hazy “wall of sound”.  In addition to their musical accomplishments, members of Lemon’s Chair have been extremely involved in the national shoegaze scene, organizing the Japan Shoegazer Festival, indie label High Fader Records, and the popular Yellow Loveless My Bloody Valentine tribute album.  This is one of the most important bands in Japanese shoegaze over the last 10 years.

Lemon’s Chairは、日本のシューゲイザーシーンのベテラン代表者バンド。インスト３ピースで美しいメロディを大音量の轟音にうまく昇華することで知られている。バンド活動に加えて日本のシューゲイザーイベント“Japan Shoegazer Festival”や、インディレーベル“High Fader Records”の運営、日本国内バンドが参加したマイブラトリビュートアルバム“Yellow Loveless”にも参加。日本シューゲイザーバンドの、最重要バンドのひとつ。

Softsurf – “Blue Swirl/Beautiful Day”

I get really excited any time I hear about a new shoegaze band popping up here in Nagoya.  Though Nagoya is a big city with its own rich music scene, there isn’t a whole lot going on in the way of shoegaze or even the dreamy indie pop that’s been taking over elsewhere. 

I get really excited any time I hear about a new shoegaze band popping up here in Nagoya.  Though Nagoya is a big city with its own rich music scene, there isn’t a whole lot going on in the way of shoegaze or even the dreamy indie pop that’s been taking over elsewhere.  Bands like Tokenai Namae and me in grasshopper are the flag bearers for the genre in the Tokai region, and there’s enough of a fanbase to support it – the 2013 Japan Shoegazer Festival in Nagoya sold out Tsurumai Day Trip – but even here the scene is mostly driven by bands from Japan’s two largest cities.  Occasionally, however, a new band does pop up, as was the case last year with the emergence of Anjo-based Haguki.  This year’s impressive newcomer to the Nagoya shoegaze scene goes by the name Softsurf.

Softsurf started up in January of 2016, and largely went unnoticed until July, when they took part in the Nagoya Shoegazer Expo event in Tsurumai.  Shortly thereafter, their two-track single “Blue Swirl/Beautiful Day”, was released for free.  Under founding member and band leader Kitamura, they underwent some lineup changes before settling in and focusing on gigging more.  Though the band’s members are each influenced by a number of genres and styles, Kitamura’s vision is largely focused on 90s shoegaze.  He does admit, however, that bands like Pink Floyd and the Beach Boys have naturally worked their way into his sound (and in the case of the latter, into the band’s name as well).  

Each track on Softsurf’s single offers something a little different, sound-wise.  “Beautiful Day” is more of a twinkling pop tune that floats along, whereas “Blue Swirl” hits hard with a blend of big guitars and airy synths.  “Blue Swirl” is the track that the band has chosen to push on their Soundcloud page, and based on Kitamura’s stated creative goals, it would seem to be more indicative of the band’s future direction.  “I like psychedelic and ambient songs with aggressive guitars and vocals that feel like they’re floating,” he explains.  “I want to take that and shape it in my own way.”

Reviews of Softsurf’s live performances to this point have been really positive, and the small sample of music made available thus far has been really encouraging.  The band will be taking the stage this coming January at Daydream Nagoya, and beyond that they are determined to have an impact on the shoegaze genre in Japan.  Next up for Softsurf is a slot on the upcoming Daydream Nagoya bill, and hopefully a lot more shows and music.

Have a listen to “Blue Swirl” on Soundcloud:

Kinoko Teikoku – “Ai no Yukue”

Well, it’s finally arrived.  The new Kinoko Teikoku album – the second since signing their major label deal with EMI – is here, and fans finally get to find out if the band is continuing on their major label J-pop trajectory or veering back toward the noisy alt rock we fell in love with years ago.  While “Neko to Allergy” had listeners resigned to the former, there were a couple of encouraging signs leading up to “Ai no Yukue” that there might be a little more balance this time around.

Well, it’s finally arrived.  The new Kinoko Teikoku album – the second since signing their major label deal with EMI – is here, and fans finally get to find out if the band is continuing on their major label J-pop trajectory or veering back toward the noisy alt rock we fell in love with years ago.  While “Neko to Allergy” had listeners resigned to the former, there were a couple of encouraging signs leading up to “Ai no Yukue” that there might be a little more balance this time around.  There was the impressive lead single, “Crybaby”, a new version of a track from one of their earlier demo EPs, and a brief but impressive glimpse at the album’s title track in the trailer for a new Japanese film.  Small sample it may have been, but it was enough to get doubters interested again.

I’ll be honest.  I expected to have a lot to say about this album, but I really don’t.  It’s really good.  It’s not mind-blowing, and it’s certainly not a shoegaze album (some people will have stopped reading at this point).  Let’s be real, though.  Kinoko Teikoku is a handful of releases removed from that sound.  Their final release from UK Project’s Daizawa label, Fake World Wonderland, was the first step toward creative control of the band shifting toward those who favor clean pop tracks to harsh roaring guitars.  Well that was two years ago, so it should come as no surprise that Ai no Yukue as a whole is a pop record.  But what’s different this time is that they seem to have been willing to meet fans of the old stuff halfway.  

The title track is a really good start to the album.  It has it all:  a gloomy intro, an explosive lead-driven hook, and reverb soaked vocals.  It never quite takes off as massively as it feels like it will at times, but that’s sort of a theme for this release.  The album’s closer and lead single, “Crybaby” is similar, though a bit more toward the pop end of the spectrum.  These are the two best songs on the album, and each showcases an enjoyable balance between the old and the new.  

Not far behind them in terms of quality is “Moon Walk”.  Kinoko Teikoku haven’t completely strayed from the melancholy sound that works so perfectly with Chiaki Sato’s gorgeous vocals, but when they’ve gone that route recently it’s been far too clean for my taste.  “Moon Walk” muddies it up a little bit, specifically in the chorus, and about halfway in fades into a nice tripped out portion through to the finale.  

One big surprise when the album’s tracklist was first published was the inclusion of “Azemichi de”, which first appeared on the band’s second demo EP “Yoru ga Aketara”.  As expected we basically get a cleaner version of the original.  Some of the edge in the chorus has been toned down a bit, but otherwise it’s very similar.  

The rest of the album is fine.  “Natsu no Kage”, as I mentioned in my previous review, is a Fishmans-esque dubgaze track, while “Last Dance” and “Ame-agari” are both really catchy pop tunes.  “Shi ga futari wo wakatsu made” is the only track I couldn’t really get into on the album.  These songs are the ones that fans hoping for the old Kinoko Teikoku may scoff at, though percentage-wise it’s a lot less than in recent memory.  

I think Ai no Yukue has a lot of really good stuff going on.  I like feeling like A-chan is being given more creative freedom, whether or not that’s actually true.  We know that Kinoko Teikoku are far removed from their days as one of Japan’s finest alt rock bands, and dwelling on the fact that we’re not going to get another Uzu ni Naru is sort of pointless.  But the band taking a step back and mixing in a bit of the old stuff with the new is welcome, and the result is a positive one.  We get a very solid pop record with a little bit of the grit and emotion that made us fall in love with the band in the first place.  For whatever my opinion is worth, Ai no Yukue was a success.